Nate Logan and JJ Rowan’s chapbook mcmxciv (Shirt Pocket Press, 2018) explores the year 1994, its budding technology, and the void it left.
So Long the Sky by Mary Kovaleski Byrnes examines what it takes to make a life in a new place through the personas of Russian and Polish immigrants.
In Sarah Lilius’ GIRL (Dancing Girl Press, 2017), the girls carve out pieces of themselves in a world of harassers and violence, in a world of Trump.
Kristin Sanders’ “Cuntry”
(Trembling Pillow Press, 2017) uses the lens of country music to depict female sexuality and desire.
In Ivy Alvarez’s The Everyday English Dictionary (Paekakariki Press, 2016), each stanza has a header word preceding it (like words in a dictionary), and the words are not everyday words: they are quite challenging. One might deduce that these words would probably need to be looked up in a dictionary. And yet, the stanzas oppose the…
Jenny Sadre-Orafai’s collection Malak (Platypus Press, 2017) creates a new language that helps us understand the metaphysical, the things we cannot see.
Jennifer Tseng’s “Not so dear Jenny” (Bateau Press, 2017), the winner of the 2016 Boom Chapbook Contest, is born from a 30-year correspondence with her father. These poems are intimate missives on parenting, longing, and heartbreak.
Marlena Chertock’s collection “On that one-way trip to Mars” (Bottlecap Press, 2016), contemplates the beauty on the earth and in the universe and how quickly it can dissipate if we aren’t careful.
Jessie Carty’s “Shopping After the Apocalypse” (Dancing Girl Press, 2016) contemplates solitude and the will to survive.
In Sarah J. Sloat’s Heiress To A Small Ruin (Dancing Girl Press, 2016), household objects and common domestic scenarios breathe, grow, and make choices on every page, but there is nothing common about them.
Kelly Lorraine Andrews’ “I want to eat so many kinds of cake with you” offers an honest, witty look at lust, lost love, and isolation. Seductive as cake.
In Amy Strauss Friedman’s poetry collection Gathered Bones are Known to Wander (Red Bird Chapbooks, 2016), the familiar is made strange and surreal, and what’s “real” is slippery at best.